63
" Though the Son of Man expressed His federation with humanity, He was very careful to note that He was like man in all things save sin. He challenged His hearers to convict Him of sin. But the consequences of sin were all His as the Son of Man. Hence the prayer to let the chalice pass; His endurance of hunger and thirst; His agony and bloody sweat; perhaps even His seeming older than He actually was; His condescension to wash the feet of His disciples; His absence of resentment as the swine-owning capitalists ordered Him from their shores; His endurance of false charges of being a winebibber, a glutton; His gentleness, which expressed itself in hiding when His enemies would have stoned Him; above all, His endurance of worry, anxiety, fear, pain, mental anguish, fever, hunger, thirst, and agony during the hours of His Passion-all these things were to inspire men to imitate the Son of Man. Nothing that was human was foreign to Him. "
― Fulton J. Sheen
66
" Time. So much of our human experience is bound up in time, I muse. It reflects in our everyday colloquialisms, and drives so much of our activities. Yet this obsession with the passing of the hours is a relatively modern phenomenon; an inevitable product of the Industrial Revolution, and its fixation on efficiency. A new master exported by England across the globe, so that in the developed world at least everyone has one wrist on which is clamped the new and unforgiving shackle we call a watch. In less pressurised days, men observed the ageing of the universe through the more sedate changing of the seasons. But no more. Now the hour is king, or the minute and sometimes even the second. We are all people in a rush, where speed is of the essence, and slow is often deployed as a term of abuse. "
― John Dolan , Everyone Burns (Time, Blood and Karma, #1)
69
" Now the evening's at its noon, its meridian. The outgoing tide has simmered down, and there's a lull-like the calm in the eye of a hurricane - before the reverse tide starts to set in.The last acts of the three-act plays are now on, and the after-theater eating places are beginning to fill up with early comers; Danny's and Lindy's - yes, and Horn & Hardart too. Everybody has got where they wanted to go - and that was out somewhere. Now everybody will want to get back where they came from - and that's home somewhere. Or as the coffee-grinder radio, always on the beam, put it at about this point: 'New York, New York, it's a helluva town, The Bronx is up, the Battery's down, And the people ride around in a hole in the ground.Now the incoming tide rolls in; the hours abruptly switch back to single digits again, and it's a little like the time you put your watch back on entering a different time zone. Now the buses knock off and the subway expresses turn into locals and the locals space themselves far apart; and as Johnny Carson's face hits millions of screens all at one and the same time, the incoming tide reaches its crest and pounds against the shore. There's a sudden splurge, a slew of taxis arriving at the hotel entrance one by one as regularly as though they were on a conveyor belt, emptying out and then going away again.Then this too dies down, and a deep still sets in. It's an around-the-clock town, but this is the stretch; from now until the garbage-grinding trucks come along and tear the dawn to shreds, it gets as quiet as it's ever going to get.This is the deep of the night, the dregs, the sediment at the bottom of the coffee cup. The blue hours; when guys' nerves get tauter and women's fears get greater. Now guys and girls make love, or kill each other or sometimes both. And as the windows on the 'Late Show' title silhouette light up one by one, the real ones all around go dark. And from now on the silence is broken only by the occasional forlorn hoot of a bogged-down drunk or the gutted-cat squeal of a too sharply swerved axle coming around a turn. Or as Billy Daniels sang it in Golden Boy: While the city sleeps, And the streets are clear, There's a life that's happening here.(" New York Blues" ) "
70
" And in this moment of pale dawn in the hours before we leave California, I finally realize what has been the hardest thing for me about Matt’s death. It isn’t that I lost a brother, like Frankie, or a son, like Aunt Jayne and Uncle Red. The hardest thing is that I’ll never know exactly what I lost, how much it should hurt, how long I should keep thinking about him. He took that mystery with him when he died, and a hundred thousand one-sided letters in my journal wouldn’t have brought me any closer to the truth than I was the night I pressed my fingers to the sea glass he wore around his neck and kissed him back.
For over a year, the letters were my only connection to him; the only evidence that I didn’t imagine our brief time as other. When I first saw my journal helplessly floating on the waves, I felt a loss so immediate and overwhelming it was like being back in the hospital lobby when the doctor told us they couldn’t fix him. One minute, the journal was in my hands, soft and familiar and real; the next minute, it was gone.
Just like Matt.
And just like Matt, I need to let it go. "
― Sarah Ockler , Twenty Boy Summer